Although the exact origin of Xingyiquan is uncertain, the earliest written records of Xingyiquan can be traced to the 18th century to Ma Xueli of Henan Province and Dai Longbang of Shanxi Province.
Legend, however, credits the invention of Xingyiquan to the renowned Song Dynasty (960-1279 AD) general Yue Fei. This is inferred from a passage within a Chinese text called the Preface to Six Harmonies Boxing (六合拳?; pinyin: Liùhéquán Xu) written in 1750. According to the Preface, Yue Fei created Xingyiquan for his officers, mimicking the fighting patterns of the spear. After Yue Fei's death, the art was lost for half a millennium. Then, during the Ming and Qing Dynasties in Shaanxi Province's Zhongnan Mountains, Yue Fei's boxing manual was discovered by Ji Longfeng (also known as Ji Jike) of neighbouring Shanxi Province.
Yang et al. argues that aspects of Xingyiquan (particularly the animal styles) are identifiable as far back as the Liang Dynasty (502-557 AD) at the Shaolin Temple (2003, 11). Yue Fei, therefore, did not strictly invent Xingyiquan, but synthesised and perfected existing Shaolin principles into his own style of gongfu which he popularised during his military service. Nonetheless, according to Yang, Yue Fei is usually identified as the creator because of his considerable understanding of the art (as shown in the work The Ten Theses of Xingyiquan, credited to Yue) and his cultural status as a Chinese war hero.
Other martial artists and historians of Chinese martial arts, such as Miller, Cartmell, and Kennedy, hold that this story is largely legendary; while xingyiquan may well have evolved from military spear techniques, there is no period evidence to support that Yue Fei was involved or that the art dates to the Song dynasty. These authors also point out that the works describing Yue Fei's role or attributed to him long postdate his life (some being as recent as the Republican era), and that it was common practice in China to attribute new works to a famous or legendary personage, rather than take credit for one's self.
With the late Ming-era and Ji Longfeng, evidence for the art's history grows firmer. Ji Longfeng's contributions to the art are described in the Ji Clan Chronicles (pinyin: Ji Shi Jiapu). Like the Preface, the Chronicles describes Xingyiquan as a martial art based on the combat principles of the spear. The Chronicles, however, attributes this stylistic influence to Ji himself, who was known as the "Divine Spear" (神槍; pinyin: Shén Qiāng) for his extraordinary skill with the weapon.
The master who taught Xingyiquan to Ma Xueli is conventionally identified as Ji Longfeng himself. However, the traditions of the Ma family itself say only that Xueli learned from a wandering master whose name is unknown. Ji Longfeng referred to his art as Liu He, The Six Harmonies.
The Preface identifies Cao Ji Wu as a student of Ji Longfeng and the master who taught Xingyiquan to Dai Longbang. However, other sources identify Dai's teacher variously as Li Zheng or Niu Xixian.
Xingyiquan remained fairly obscure until Li Luoneng (also known as Li Nengran) learned the art from the Dai family in the 19th century. It was Li Luoneng and his successors—which include Guo Yunshen, Li Cunyi, Zhang Zhaodong, Sun Lutang, and Shang Yunxiang—who would popularise Xingyiquan across Northern China.
